If SyFy and The Asylum have taught us anything about post-2010 made-for-television monster movies, it is that high expectations may as well have “no admittance” crime scene tape blocking all entrances.

If you thought actor John Jarratt’s off-kilter killer was the best part of “Wolf Creek,” then the sequel is like a caramel-covered brownie fudge sundae for a fat kid indulging a sweet tooth.

“Wolf Creek” is so successful at injecting unease that a climax accused of being visceral torture for shock’s sake is highly terrifying despite the “it’s been done before” scene arrangement.

“Stage Fright” is broadly funny without being overly silly, gory without being grotesque, and unique in its appeal without ever compromising its identity.

Without the presence of Eric Roberts and Danielle Harris, “Camp Dread” would be nearly unrecognizable as a professionally made feature.

It feels like the movie’s people, places, and things were thrown in the air and inserted wherever they fell in the storyline on the floor.

Caradog James does not break new thematic ground with “The Machine,” but the rich simplicity with which he frames his take on sentient robots makes for a sleek production with streamlined storytelling.

“I can’t believe we’re going off to college in just a couple months.”  I can’t believe it either.  Unless they mean they are going there to drop off their kids, since they certainly look old enough to have them.

“Haunt” is highly successful at gradually weaving a drape of dread over itself, although it is less on the mark at keeping that fire stoked as the momentum runs out of steam.

“Doc of the Dead” zips through key points of zombie history so breezily that it barely pauses to pat each head in a breathless game of Duck Duck Goose.

Occupy the time with mulling over the puzzle of where “13 Sins” is headed next and becoming absorbed in its mystery can end up turning into a great deal of mind-teasing fun.

There is such a bland sense of style to “The Dinosaur Experiment” that no amount of willfully excusing its low-budget shortcomings can even out the poor plotting, characterization, dialogue, and direction.

... the final direction loses its focus before buckling under the weight of characters, concepts, and side plots that do more to weigh down the core story than they do to enhance it.

... those details are the pitchfork stabbing holes in “Children of Sorrow” to the point where the moments that work take on a lot of unnecessary water from the ones that don’t.

“Alien Abduction” borrows too heavily from a familiar formula for a story that never fully capitalizes on the uniqueness of its premise.

("Locker 13") makes for a refreshing alternative to the macabre madness, blood-soaked monsters, and paranormal hauntings of (other anthologies) by keeping a level head that still retains enough twists and chills to be suspenseful and entertaining.

“That Guy Dick Miller” settles for being a loose collection of somewhat related notes and anecdotes that don’t reveal nearly as much about Dick Miller as they should.

“Twisted Tales” puts forth the perception that Holland felt a quick and dirty webseries produced on the cheap did not require an A game.

Take it as anything more serious than popcorn entertainment originally intended for small doses on a computer screen, and you are doomed for disappointment.

“The Guest” ends up as less of a fully satisfying film and more of a passport for Wingard, Barrett, and the cast to run wild in a well-crafted, but somewhat empty playground.